French Quadrille - a stately Dance - Origins 1760's Main1 Basic Steps ... excerpted from L.G. Brookes Book-1850: First Figure: Le Pantalon. The top and bottom couples cross to each other's places in eight steps (four bars), returning immediately to places, completing the movement of eight bars. This is called the Chaine Anglaise (i. e., opposite couples right and left), and in performing it the gentleman should hear in mind always to keep to the right of the vis-à-vis lady in crossing. Formal "setting" to partners is gone out; but you may turn your partners (second eight bars). Here follows "ladies chain" (eight bars more). Each gentleman takes his partner by the hand and crosses to opposite couple's place (four bars); this is called in ball-room parlance "half promenade." Couples then re cross right and left to their places without giving hands (another four bars): which completes the figure. The latter eight bars of this figure are frequently now danced with the Galop step. The side couples repeat as above.

When there are mere than two couples, either at the top or side, it is customary observing our rule with regard to "top couple"to alternate the arrangement in order to give variety to the dance. Thus the lady who is at the top of the quadrille in her own set finds her vis-à-vis in the adjoining set occupying that position. Second Figure: L'Eté. This figure is generally danced now in the manner known as Double l'Eté. Top and bottom couples advance and retire (four bars), then changing places with their vis-à-vis (making eight bars); but omitting to cross over as in the Chaine Anglaise . Again advance and retire (four bars), back to places, set to partners, and turn partners. This completes the figure. The side couples repeat. There are some people who still adhere to the old way of dancing this figure, so to prevent any confusion it would be well to have an understanding with your vis-à-vis on the subject before commencing. It is danced as follows: All the top ladies and their vis-à-vis gentlemen advance four steps and retire, then repeat the movement, making the first eight bars.

Top ladies and vis-à-vis gentlemen change places: advance four steps and retire: re-cross to partners, who set to them as they advance. Turn partners. This completes the first part of the figure, which is finished by the second ladies and top vis-à-vis gentlemen going through the same evolutions. The sides repeat. Third Figure: La Poule. Top lady and vis-à-vis gentleman change places; return immediately, giving the left hand (eight bars) and retaining the grasp, their own partners falling in on each side, and forming a line, each with their faces different ways. In this manner, all four balancez quatre en ligne (set four in a line), half promenade with partner to opposite place; top lady and vis-à-vis gentleman advance and retire four steps (second eight bars). Both couples advance together and retire, then cross right and left to places (third eight bars). Second lady and vis-à-vis gentleman go through the figure. Side couples repeat. Fourth Figure: La Pastorale. Top gentleman takes his partner by left hand: they advance and retreat: advance again, leaving the lady with vis-à-vis gentleman, and retiring to his own place.

vis-à-vis gentleman now advances four steps and retreats the same, holding each lady by the left hand; again advancing, he leaves the two ladies with the top gentleman, who once more advances. They then all join bands in a circle, go half round, half promenade to opposite places, returning right and left to their own. Second couples and sides repeat. The above is the figure mostly in vogue, but occasionally La Trenise is substituted, so we venture to indicate the figure as follows: The top couple join bands, advance and retreat four steps. They again advance, and top lady is then left with vis-à-vis gentleman, her partner retiring to his own place (first eight bars). Both ladies cross to opposite sides: gentleman advances to meet his partner, whilst the vis-à-vis lady returns to hers (second eight bars). Set to partners, and turn partners to places. Second couples and sides repeat. Fifth Figure: La Finale. This figure is usually commenced with the grand rond (great round) ... i. e., the whole quadrille--tops, bottoms, and sides join hands, and advance and retreat four steps.

(The old plan of the whole quadrille taking one turn round the figure in Galop steps is rather gone by, though even now it is occasionally so danced in some circles.) Each gentleman then takes his lady as if for a Galop; advance and retreat four steps, then cross to opposite places. Advance and retreat as before, and return to own places; ladies chain, concluding with the grand rond. Side couples repeat. Occasionally L'Eté is introduced, the grand rond being introduced between each division of the figure. We, however, give the above, as being not only the most popular, but by far the prettiest and most spirited figure for La Finale." ... end. Quadrille Mania Quadrille Mania Various performers Double CD produced by the Bush Dance & Music Club of Bendigo and District Having been asked by the editor to review the double CD 'Quadrille Mania', my first thought was 'what do I know about quadrilles?' - I believed them to be dances from the 19th century, in square formation, and that The Lancers was a version. Not a lot to go on!

It was soon obvious that for a full picture of the development of the quadrille form we need to go back to an earlier period and look at the English Country Dance - so a short essay drawn from my research on the subject follows the body of this review. Many of the quadrille sets mentioned in the essay below evolved, with their numerous variations, to become the folk dances of the Australian bush. They lasted much longer in small rural communities than in the towns, although today the Alberts is the main survivor, often being dance straight through with no break between figures. Another interesting dance is the Parisian Quadrille, which is the First Set danced without side couples, i.e. back to being a longways! The Bush Dance and Music Club of Bendigo and District have been instrumental in reviving interest in the quadrilles and responsible for a great deal of research into both dance variations and the music for the sets. The revival in the mid 1970s, of the Wedderburn Oldtimers Orchestra led to a renewal of interest in the old dances, and some of the sets were regularly used at local dances.

They have researched versions from all over Australia and collected dances and music from a variety of sources, including Italian and Swiss-Italian tunes brought over in the 1860s. A chance encounter at the National Folk Festival in Sydney in 1980 resulted in a meeting with a Mr Bull, then in his eighties, who still had the music for the First Set written out in 1910 by his German music teacher, a version of which is included on this recording. Thanks to the work of the Bendigo Club the Quadrilles have now become much better known to a wider audience, and continue to be danced with great pleasure. I would draw a parallel between the rekindling of interest in the quadrille sets in Australia and the growth of interest in this country in Irish Set dancing, as evidenced by the many workshops and dances at festivals and at regular venues throughout the country. These are by no means attended only by the Irish or those of Irish descent but have become popular across a wide spectrum of dancers. The CDs are accompanied by a booklet and from this publication it is worth quoting the following admirable sentiments.

'Unlike the sophisticated dances from some of the other backgrounds there was no such thing in Australia as a 'dancers dance' � select groups of only experienced dancers were despised and everybody from all walks of life interacted together in the quadrilles � ' What of the CDs themselves? Here we have the music arranged to dance to, that is each of the dances has sets of tunes played the correct number of times through for each figure in the quadrille. For example the Lancers, fig 1 x 8 bars intro then 4 x 32bars, fig2 - 4 x 32 bars, fig3 - 2 x 32 bars, fig4 - 4 x 48 bars and fig 5 - 4 x 48 bars plus coda. (An interesting one is for the Waltz of Cotillions which has 4 x 128 bars plus coda!) The dances also include the Alberts (3 versions), the Caledonians, the Prince Imperials, Exions and a couple of versions of the Waltz Cotillon.

The booklet accompanying the CDs gives the 'calls' for all the dances with some explanation of the figures, most of which will be familiar to any regular dancer e.g. ladies chain, right and left through, set and turn, circles , stars etc � The Bendigo Club will also be producing a video of the dances to demonstrate how they are done. There is music for the twelve dances and as most of them have five figures and a medley of up to six tunes is used for each figure, this means an opportunity for a wide variety of melodies. The music is provided by four bands - The Original Wedderburn Oldtimers Orchestra (recorded in 1974, who play the introduction and the final track), The Wedderburn Oldtimers Orchestra (current lineup), the Gay Charmers, the Dancing Pennies and the Emu Creek Bush Band. Of these bands the Gay Charmers have only four players (Piano, button accordion, piano accordion and banjo) the other bands are much larger, (up to twelve in the case of Emu Creek), but the instruments are the same, plus violin, banjo mandolin, guitar, double bass, mouthorgan Concertina, drums, spoons and even Swanee whistle.

[My favourite listing has got to be - 'Trevor Holt (banjo) absent' !] A lot of tunes used would be very familiar to any traditional musician or dancer in this country, e.g. Redwing, Garry Owen, Long Way to Tipperary, Golden Slippers, McNamara's Band, Rakes of Mallow, etc. . along with other popular tunes such as Hi Ho the Merrio, Wheels and even The Band Played Waltzing Matilda. Scottish tunes are well represented with Invercauld, Jock O'Hazeldean, Mount Stewart House, Annie Laurie and the Fairy Dance amongst others. Along with these are a few tunes of European origin, such as Luedecker Polka and Herr Geisler's 1st and 2nd tunes, and several home grown Australian tunes e.g.. Harry Cotters See-saw Polka, the Mudgee Waltz, Shaver Ramsey's and the Cahling Gervisoni Waltzes from Yandoit. Most of the tunes for the waltz sets would have been in the repertoire of the majority of old musicians throughout England too.

Villikins and His Dinah, If those Lips Could Only Speak, When It's Springtime in The Rockies, Peggy O'Neal and When Irish Eyes are Smiling, are just what would have been popular a few years ago at any Saturday night session in an English pub. As a musician, it's not really the sort of CD I would buy in order to learn new tunes - although some of the Aussie ones are excellent and will no doubt find their way into my repertory - but the music is played with great vigour and energy and would be wonderful for dancing to. My favourite band are the Gay Charmers who, although only a four piece, have terrific punch and drive, and also a wonderful piano player. All the bands play well and with great enthusiasm and it seems obvious that the musicians are having a jolly good time. It has the joyful feel of some of the stuff that would have been played by old musicians in Britain many years ago, and that Old Swan Band, Flowers and Frolics, New Victory Band and others so successfully revived here in the 1960s/'70s.

Dave Hunt - 8.2.00 Quadrille Mania can be obtained from: The Bush Dance & Music Club of Bendigo & District Inc, PO Box 922, Bendigo 3552, Victoria, Australia. The Secretary of the club is Mary Smith, phone: (03)54 421153 Country Dances, Contredanses, Cotillons and Quadrilles Although we have to wait until 1650 and the publication of Playford's Dancing Master to get technical information, there is no doubt that Country Dance was popular in 16th century England and probably earlier. Many of the dances Playford describes are of an advanced character and must have been the result of development over generations. Three of the dances published in the first edition were casually mentioned nearly a hundred years earlier in 'Misogonus', a comedy of c. 1560, as being everyday popular dances. By the end of the 16th century Country Dances had penetrated into the Court.

In 1602 we have the Earl of Worcester writing "We all frolic here at Court, much dancing in the Privy Chamber of Country Dances before the Queens Majesty, who is exceedingly pleased therewith" At first these Country Dances did not replace the Branles, Courantes and other French dances for the main part of a Court dance, but were used at the end of the evening as a lighter form of enjoyment. They did however flourish amongst the middle classes and also in the social life of the villages. The Country Dance was a figure dance using simple steps but often with elaborate figures - developed from the earlier folkdances, and whilst retaining some of the basic qualities of the previous forms, showed considerable development in technique. Essentially a dance for at least four people, and which - in contrast to the sedate and serious music of France and Italy - used an almost infinite variety of bright, jolly, rhythmical tunes. In Europe the centre of dance was the French Court, especially in the latter half of the 17th century. Double Branles, Corantos and Gavottes were still the favourites, albeit more and more formal and relying on ever more complex and technical moves.

In England the Country Dance was as popular as ever, despite the advent of the Puritans - in fact the English Dancing Master was first published only three years before the Commonwealth, and a second edition two years later. It is clear that although French dances were still utilised by the English Court to start an evening, they were followed by Country Dances, even though the more formal Longways sets were replacing the earlier Rounds and Square-Eights. The beginning of the 18th century marks an important point in the history of social dance in Europe. Dances had grown ever more complex, stilted and affected and gave less and less pleasure to the participants. So these Court dances were gradually rejected and replaced by the English Country Dance. During the previous century these English dances had also started to find favour on the continent. The earliest evidence is the first collection of English dances to be published abroad, Recueil de Contredanses by Feuillet (Paris, 1706) which contains 32 Longways dances. 'All the contredanses to be found in this collection are original examples chosen from amongst the finest and most fashionable and are printed as they are danced in that country'.

They may well have been amongst the finest, but were certainly not all recent examples: five appear in the 1686 (7th) edition of Playford's Dancing Master; two were first printed in 1670; and one in 1690; the others being composed 'after the English model'. Feuillet also gives some interesting definitions of contredanse: Contredanse is nothing but a dance figure repeated continually - first by two, by four, by six, by eight, by ten and finally by as many couples as may be present. A figure in respect of a Contredanse is a certain number of movements capable of filling out an air. One Contredanse can have several figures, which may be regarded as several verses of a song sung to the same air. That the English Country dance had also reached other parts of Europe is evident from the following quotations. Austria, 1717: 'The ball always concludes with English Country Dancing for 30 to 40 couples' Italy, 1749: 'They are fond to a degree of our English Country Dances' It may be worthwhile now to look at the derivation of the word contredanse.

For a long time England had looked to France for what was thought fashionable in dress, manners and dance, and many people found it hard to believe that we were successfully exporting our own culture to the French. Because of the similarity of the names of the dance (Country Dance and Contredanse) they thought that the dance form was French in origin. This idea even persists into the present, so it is worthwhile considering the facts. The English historian of the dance (Weaver) had no doubt of the origin of the dances calling Country Dance "the peculiar Growth of this Nation" (1712), nor did Feuillet (1706) "The English are the first inventors. " Jaques Bonnet states in 1723 that the Contredanse had been "introduced by an English dancing Master some 12 to 15 years before." So given that it was generally accepted that the dances were English, how the word 'contredanse' got into the French language is interesting.

It is not in the 'Dictionnaire Francois' of 1690 or in the edition of 1710 (but is in the Amsterdam edition of 1722), nor is it found in the first 'Dictionnaire de l'Acadamie' (1694) but does appear in the 1718 edition. It is possible that Feuillet used it in the sense of contre�-danse with people placing themselves opposite to one another to begin a figure - as the only form of Country Dance he published was the Longways where 'contre' (opposite) would have some meaning. However Bassompierre also used the term in 1625 when the dances he knew would have also included the earlier Rounds and Square-eights etc. If Country Dance meant figure dancing to the English, Contredanse meant repetition to the French - which was commonly called Contrepartie (counterpart) another possible origin of the name.

The English writers Tomlinson and Hogarth both refer to 'Country or Figure dancing', and a brief summary according to Cecil Sharp and A P Oppe (The Dance, an historical survey of Dancing in Europe, London 1924) is as follows: Since at least 1560 the word Country Dance was used in England as a generic name for our national dances in various formations. Before the 18th century the word contredanse only occurs once in French literature, when it was used as the French equivalent of English Country Dance. The word was not in general use in France until 1706 when Feuillet published his collection under that title. During the first 30 - 40 years of the 18th century it was used in France exclusively to denote English Country Dance in longways form. Subsequently it came to be applied in France to a square dance based on the Cotillon, which later in the century came to be called the Quadrille (we finally got to the Quadrille!) Through history there has been an unwritten law - 'the dance must fit the dancing space'.

The English danced in large public assemblies where longways formation was appropriate, whilst the French danced at home in salons often almost square in shape, and so made their own adaptation of the contredanse into a square for eight. This was called the Contredanse Francaise or Cotillon. The Cotillon was originally a French folk dance ('cotte' being the short petticoat worn by peasants) In modified form it was introduced into England about 1770, and soon found favour. So much so that from 1780 publishers included 'New Cotillons' in their annual publication of New Country Dances. It was danced here as a French dance, and in the same way that the French had turned our longways set into a square for their convenience, so the English turned the French dances into longways to suit our conditions. In some of the later collections a dance might be given in two forms so that it could either be danced as a Cotillon (or Quadrille) or as a Longways Progressive set e.g. Harbours Allemande as arranged in La Marquise an English collection of the late 18th century.

Dezais includes the Carillon des Fetes de Thalie (with the subtitle 'Contredanse') in his Recueil of 1716 - this dance maintains the principle of repetition in that each figure is led by the top and bottom couples then repeated by the side couples, and between the figures a chorus or refrain is danced, again led by the heads and repeated by the sides. The great days of the Cotillon were the 1760s. By now the dance had become long and complicated, with no resemblance to it's English origins. Beautiful and complex figures were still danced, being led by the heads with repetition by the sides, but the refrain had been replaced by a series of moves called 'Tours', which were: Grand Rond - a circle left and right. La Main - a right and left hand turn Two Hand Turn - left and right Ladies Moulinet - Women right and left hand stars Gentlemen Moulinet - Men the same. Ladies Hands Four Ring - once round each way.

Gentlemen Hands Four Ring - Men the same Partners Allemande - 'to allemande is to face in opposite directions, each puts the right hand behind their back and with the left they take their partners right. In this position they go round once then turn to repeat with the left hand behind the back'. (Like the hold we now use for the swing in The Hullichan. Grand Rond - as before. La Cuisse in Le Repertoire des Bals (c. 1762-64) states that after the Grand Rond all the figures chosen for performance were danced straight through, then danced again with the appropriate 'Tours' in between each and after the final Grand Rond the figures were all danced straight through as at first, and the dance finished with a 'La Main'!! This obviously made a very long and tiring dance with all the attendant dangers of confusion between the figures and the 'Tours'. In Advanced Historical Dances (London 1960) Melusine Wood describes how one M.

Magny (Principes de Choregraphie - 1765) had trouble getting his pupils to remember these long dances and so reduced the number of dancers to two couples - thus omitting all the repetition of moves - 'This dance was called the Cadrille - later Quadrille - it soon became popular and by the 1800s had almost replaced the Cotillon' (** see also below for other suggested sources of the name 'Quadrille') As these two dances were so closely related this often led to confusion. In The Cotillion and Quadrille Panorama (1818) Thomas Wilson describes it thus: This fashionable species of dancing is entirely of French origin and only differs from the well known dance the Cotillon, by leaving out the changes (Tours); being much shorter, and frequently composed of figures that require but four persons to their performance. . . although eight persons generally stand up for the sake of convenience. . . and also to gain room in the formation of the sets, particularly as many of the Cotillon figures are now introduced in Quadrille dancing that require eight persons.

� so it seems that what started as a two couple simplification of the Cotillon became after a while almost indistinguishable as it often needed four couple square sets. [** Grove's Dictionary of Music states that the name 'Quadrille' is from the Italian 'squadriglia' or Spanish 'cuadrilla', originally a small company of cavalry - subsequently a group of dancers in a pageant - then the troupe of dancers in the elaborate French ballets of the 18th century. The popularity of contredanses in ballet led in turn to a description of a set of contredanses in the ballroom as 'quadrille de contredanses' later shortened to 'quadrille.'] In the first quarter if the 19th century Country Dance held its pre-eminent position in the ballrooms of England - although the two dances that were eventually to replace it were both introduced early in the century - the Waltz in 1912 and the Quadrille in 1816. Many publications reflect the remarkable interest in dancing following the Napoleonic wars describing it as being 'the most popular amusement of all classes'.

The Quadrille was introduced into English Society by Lady Jersey and her friends at 'Almacks' in 1816. Originally figures were put together by the dancers themselves, but Wilson's Treatise on Quadrille Dancing of 1818 describes fifty different moves and suggests how they may be combined to make figures. Many of these moves were Cotillon figures already familiar to English dancers. One of the most popular books of the period was Payne's Six Sets of Quadrilles (1820) - the First of which was a Set that was already so popular in Paris that by the end of the 18th century it had superseded all the others. This was the set which Lady Jersey introduced at Almacks and ultimately the form in which the Quadrille was danced in England, as the First Set of the Quadrilles, although there were numerous variations to chose from. It usually consisted of five distinct parts or figures - which even when new music was provided retained the name of the contredanses which made up the standard quadrille.

The figures were: Le Pantelon, adapted from a song which began 'le pantelon / de Madelon / N'a pas le fond �' L'Ete - a contredanse popular in 1800 La Poule - a dance from 1820 La Pastourelle - based on a ballet by the cornet player Collinet, and a lively � Finale. The fourth figure - La Pastourelle - was often replaced by a further figure La Trenis (named after the dance Trenitz) in fact, in the Viennese Quadrille both were danced - as fourth and sixth figures. The music for the quadrille sets was made up of lively rhythmic themes of rigid 8 or 16 bar lengths - the sections much repeated within a figure. Except for La Poule and sometimes Le Pantelon (which were in 6/8) the music was in 2/4 and usually adapted from popular songs and stage works. In England the Quadrilles of Jullien, such as the British Army Quadrilles and the Grand Quadrille of All Nations were great attractions at his concerts in the Surrey Gardens and Covent Garden.

Elgar also wrote music for the Quadrilles during his years as conductor at the Powick Asylum (1879-94). Elsewhere in Europe quadrilles were produced by the Stausses and all the major dance composers of the 19th century. As examples of the popularity of the Quadrille in the ballrooms of the period are a few samples of dance programmes. France 1847 - Cellerius, La Danse des Salons Quadrille Redowa Cotillon (Waltz or Polka) The Lancers 'A second set of quadrilles with entirely new figures, as danced by the nobility and Gentry of Tenby in the Summer of 1819' was compiled by Joseph Hart and published in 1820. This also has five figures: La Rose, La Lodaiska, La Dorset, Les Lanciers and L'Etoile. The tunes were again usually adaptations of operatic airs and popular tunes of the day (the tune to La Dorset was Poor Robin's Maggot from Playford - also used in the Beggars' Opera for If the Heart of a Man).

By the 1830s The Caledonians - possibly an English arrangement to Scottish tunes appeared and then the Waltz Cotillon (sometimes spelt Cotillion) evolved, most likely from figures of the 'party' type Cotillon. A French composer Charles d'Albert, resident in England, arranged a mixed set by sequencing favourite figures from the First Set, Caledonians, Lancers and the Waltz Cotillion. Thus the popular Alberts Quadrille came into being. As the Quadrilles percolated through different levels of society and between different countries they hybridised with earlier dance styles to create new forms of dance. In Ireland many of the sets evolved by absorbing traditional Irish stepping into the quadrille format, and American Square Dancing came from the same source, as did some of the Scottish Country Dances, including the Eighsome Reel. In Australia the versions remained more closely linked to the British originals, but with interesting variations and combinations of figures, for example the Fitzroy Quadrilles and the Exions (sometimes Exiles).

In Western Australia several 'party or club sets' have been found on dance programmes from the 1890s to 1912, including The Metropolitan, the Robbie Burns and the Masonic Quadrilles. The Quadrille (and Lancers) soon became very popular in England and although in the original form, as received from France, it depended for effect on elaborate steps, these were gradually discarded and the dancers simply walked through the complicated figures ....... Now what does that remind me of ??? As the popularity of the Quadrille and Waltz increased, so that of the English Country Dance diminished. The Polka (a Bohemian dance) was introduced in 1845, followed by the Schottische, the Mazurka and the Redowa - all of which helped to displace the Country Dance from the prime position it had held for two centuries. Towards the end of the 19th century the Quadrille and Waltz and other more recent dances were in turn losing favour, certainly in England, and for the first time (and by no means the last) we took up dances from the Americas, the One Step from San Francisco, the Boston Waltz and the Argentine Tango.

The Lancers retained some of its popularity and was to survive well into the 20th Century. Dave Hunt - 8.2.00 Dancers and Choreographers : Occupational Outlook Handbook: : U.S. Bureau of Labor Statistics U.S. Bureau of Labor Statistics There are many different types of dance, such as ballet, tango, modern dance, tap, and jazz. Quick Facts: Dancers and Choreographers Job Outlook Employment of dancers and choreographers is projected to grow 5 percent from 2014 to 2024, about as fast as the average for all occupations. A growing interest in dance and in pop culture may provide opportunities in dance schools and in fields outside of dance companies. However, dancers and choreographers face intense competition, and the number of applicants is expected to vastly exceed the number of job openings. What Dancers and Choreographers Do About this section Some dancers perform in theater productions. Dancers and choreographers use dance performances to express ideas and stories. There are many types of dance, such as ballet, tango, modern dance, tap, and jazz.

Duties Dancers typically do the following: Audition for a part in a show or for a job within a dance company Learn complex dance movements that entertain an audience Rehearse several hours each day to prepare for their performance Study new and emerging types of dance Work closely with instructors, choreographers, or other dancers to interpret or modify their routines Attend promotional events, such as photography sessions, for the production in which they are appearing Dancers spend years learning dances and perfecting their skills. They usually perform as part of a group and know a variety of dance styles, including ballet, musical theater, and modern dance. In addition to traditional performances in front of a live audience, many perform on TV, in videos on the Internet, and in music videos, where they also may sing or act. Many dancers perform in shows at casinos, theme parks, and on cruise ships.

Choreographers typically do the following: Put together moves in a sequence to create dances or interpretations of existing dances Choose the music that will accompany a dance routine Audition dancers for a role in a show or within a dance company Assist with costume design, lighting, and other artistic aspects of a show Teach complex dance movements Study new and emerging types of dance to design more creative dance routines Help with the administrative duties of a dance company, such as budgeting Choreographers create original dances and develop new interpretations of existing dances. They work in theaters, dance companies, and movie studios. During rehearsals, they typically demonstrate dance moves, to instruct dancers in the proper technique. Many choreographers also perform the dance routines they create. Some choreographers work with performers who are not trained dancers. For example, the complex martial arts scenes performed by actors in movies are arranged by choreographers who specialize in martial arts. Some dancers and choreographers hold other jobs between roles to make a living. Some people with dance backgrounds become dance teachers. Dancers may rehearse several hours each day to prepare for their performance. Dancers and choreographers held about 20,100 jobs in 2014.

About half of dancers and choreographers worked in schools and performing arts companies in 2014. About 1 in 7 were self-employed. Injuries and Illnesses Dance takes a toll on a person’s body, so on-the-job injuries for dancers are common. Many dancers stop performing by the time they reach their late thirties because of the physical demands of their work. Nonperforming dancers may continue to work as choreographers, directors, or dance teachers. Work Schedules Schedules for dancers and choreographers vary, depending on where they work. During tours, dancers and choreographers have long workdays, rehearsing most of the day and performing at night. Some work part time at casinos, on cruise ships, and at theme parks. Choreographers who work in dance schools may have a standard workweek when they are instructing students. They also spend hours working independently to create new dance routines. How to Become a Dancer or Choreographer About this section Most dancers begin training at a young age. Education and training requirements vary with the type of dancer; however, all dancers need many years of formal training. Nearly all choreographers began their careers as dancers.

Education and Training Many dancers begin training when they are young and continue to learn throughout their careers. Ballet dancers begin training the earliest, usually between the ages of 5 and 8 for girls and a few years later for boys. Their training becomes more serious as they enter their teens, and most ballet dancers begin their professional careers by the time they are 18. Leading professional dance companies sometimes have intensive summer training programs from which they might select candidates for admission to their regular full-time training programs. Modern dancers normally begin formal training while they are in high school. They attend after-school dance programs and summer training programs to prepare for their career or for a college dance program. Some dancers and choreographers pursue postsecondary education. Many colleges and universities offer bachelor’s and/or master’s degrees in dance, typically through departments of theater or fine arts. In March 2015, there were about 85 dance programs accredited by the National Association of Schools of Dance . Most programs include coursework in a variety of dance styles, including modern, jazz, ballet, and hip-hop. Most entrants into college dance programs have previous formal training. Some choreographers work as dance teachers. Teaching dance in a college, high school, or elementary school requires a college degree.

Some dance studios and conservatories prefer instructors who have a degree but may accept previous work, in lieu of a degree. Work Experience in a Related Occupation Nearly all choreographers begin their careers as dancers. While working as dancers, they study different types of dance and learn how to choreograph routines. Advancement Some dancers take on more responsibility if they are promoted to dance captain in musical theater or a ballet master/ballet mistress in concert dance companies. They lead rehearsals or work with less-experienced dancers when the choreographer is not present. Eventually, some dancers become choreographers. Dancers and choreographers may also become theater, film, or television producers and directors . Important Qualities Athleticism. Successful dancers must have excellent balance, physical strength, and physical dexterity, so they can move their bodies without falling or losing their sense of rhythm. Creativity. Dancers need artistic ability and creativity to express ideas through movement. Choreographers also must have artistic ability and innovative ideas, to create new and interesting dance routines. Interpersonal skills. Dancers and choreographers may find job opportunities by networking within their communities. Leadership skills. Choreographers must be able to direct a group of dancers to perform the routines that they have created. Persistence.

Dancers must commit to years of intense practice. They need to be able to accept rejection after an audition and to continue to practice for future performances. Choreographers must keep studying and creating new routines. Physical stamina. Dancers are often physically active for long periods, so they must be able to rehearse for many hours without getting tired. Teamwork. Most dance routines involve a group, so dancers must be able to work together to be successful. Note: All Occupations includes all occupations in the U.S. Economy. Source: U.S. Bureau of Labor Statistics, Occupational Employment Statistics The median hourly wage for dancers was $14.44 in May 2015. The median wage is the wage at which half the workers in an occupation earned more than that amount and half earned less. The lowest 10 percent earned less than $8.56, and the highest 10 percent earned more than $33.03. The median hourly wage for choreographers was $22.09 in May 2015. The lowest 10 percent earned less than $9.24, and the highest 10 percent earned more than $45.72.

Schedules for dancers and choreographers vary, depending on where they work. During tours, dancers and choreographers have long workdays, rehearsing most of the day and performing at night. Some work part time at casinos, on cruise ships, and at theme parks. Choreographers who work in dance schools may have a standard workweek when they are instructing students. They also spend hours working independently to create new dance routines. Note: All Occupations includes all occupations in the U.S. Economy. Source: U.S. Bureau of Labor Statistics, Employment Projections program Employment of dancers is projected to grow 5 percent from 2014 to 2024, about as fast as the average for all occupations. Employment of choreographers is projected to grow 6 percent from 2014 to 2024, about as fast as the average for all occupations. Large dance companies are not expected to add many jobs over the decade, so dancers may find positions in smaller companies, or in companies that stage professional dance competitions. There may be better opportunities for dancers and choreographers in large cities, such as New York and Chicago, or for dancers who join a traveling company.

A growing interest in dance and in pop culture may provide opportunities in fields outside of dance companies, such as TV or movies, casinos, theme parks, or as judges in dance competitions. Many dancers and choreographers, nonetheless, struggle to find opportunities to express themselves; dance companies rely on word-of-mouth, grants, and public funding. However, public funding and grants for dance performances can be highly competitive. The growing interest in dance in pop culture is expected to lead more people to enroll in dance schools, and growing enrollment should create more jobs for choreographers and dancers who provide lessons. Job Prospects Dancers and choreographers face intense competition, and the number of applicants is expected to vastly exceed the number of job openings. Dancers who attend schools or conservatories associated with a dance company may have a better chance of finding work at that company than other dancers. Employment projections data for dancers and choreographers, 2014-24 Occupational Title State & Area Data About this section Occupational Employment Statistics (OES) The Occupational Employment Statistics (OES) program produces employment and wage estimates annually for over 800 occupations. These estimates are available for the nation as a whole, for individual states, and for metropolitan and nonmetropolitan areas.

The link(s) below go to OES data maps for employment and wages by state and area. Dancers Projections Central Occupational employment projections are developed for all states by Labor Market Information (LMI) or individual state Employment Projections offices. All state projections data are available at . Information on this site allows projected employment growth for an occupation to be compared among states or to be compared within one state. In addition, states may produce projections for areas; there are links to each state’s websites where these data may be retrieved. Career InfoNet America’s Career InfoNet includes hundreds of occupational profiles with data available by state and metro area. There are links in the left-hand side menu to compare occupational employment by state and occupational wages by local area or metro area. There is also a salary info tool to search for wages by zip code.

Question: How many people are needed to dance a Quadrille?
Answer: 8